Francesco Raffaele | Istituto Universitario Orientale, Napoli, Italy (original) (raw)
Books by Francesco Raffaele
AA.VV. - Sentiero Italia CAI Vol. 4 (Senerchia-Isernia)), 2022
The chapter provides an updated review of one historical path that is part of the longest italian... more The chapter provides an updated review of one historical path that is part of the longest italian Cammino (the "Sentiero Italia"). This stage flows through quite obscure peaks of the Salerno province (Salerno Mountains, also called Diecimare) that are described in a complementary section.
![Research paper thumbnail of P. Scaramella (con F. Raffaele, D. Russo e G. Adinolfi) - La montagna sul mare (2a ediz 2021) [sel. 59 pag. di 290]](https://attachments.academia-assets.com/103261366/thumbnails/1.jpg)
](P. Scaramella - La montagna sul mare , 2021
Scritti e immagini d'ascensione al Faito e alla catena dei Monti Lattari
The First Neapolitan Congress of Egyptology held in Naples, Italy in 2008, constitutes one of the... more The First Neapolitan Congress of Egyptology held in Naples, Italy in 2008, constitutes one of the former international projects promoted by the Neapolitan Association for Egyptological Studies (A.N.S.E.) and was devoted to the diffusion of most recent scientific and research activities carried out by Italian and International Universities and Research Institutes. The contributions span all periods and geographic areas of Ancient Egypt, spreading from the pre-dynastic age to the Coptic era, with a particular focus on new, unpublished data. These include archaeological activities in the royal pre-dynastic cemeteries in Hierakompolis and Abydos; new investigations in the Oasis, the Delta and the Red Sea; updated studies on the chronology, art, architecture and ideology of the Old, Middle and New Kingdom; textual and philological analysis of literary sources like the Pyramid Texts; and the latest researches in some of the most important sites of Sudan. The congress was also the occasion to draw attention to some unknown archaeological and textual material which comes from the Vesuvian Area and is kept in the Archaeological Museum and the National Library in Naples.
Papers by Francesco Raffaele
RASSEGNA DEL CENTRO DI CULTURA E STORIA AMALFITANA, 63/64, 2022, 2022
2022 Dicembre 2022 Nuova Serie N. S. Anno XXXII (XLII dell'intera serie) RASSEGNA DEL CENTRO DI C... more 2022 Dicembre 2022 Nuova Serie N. S. Anno XXXII (XLII dell'intera serie) RASSEGNA DEL CENTRO DI CULTURA E STORIA AMALFITANA In questo numero: Saggi La dinastia dei Fusilis (898-957) di Giuseppe Gargano Origini, sviluppo e abbandono di alcuni siti fortifi cati campani fra X e XV secolo. Un bilancio sulle forme di incastellamento e decastellamento di Alfredo Maria Santoro Catasto provvisorio di Positano (1815) e considerazioni sull'evoluzione storica del comune fi no alla conclusione del decennio napoleonico di Antonio Capano I Savoia fra Ravello e Raito, collage bibliografi co di Antonio Porpora Anastasio Beni Culturali La trasformazione monumentale della cattedrale di Santa Trofimena in Minori: documenti inediti sul Settecento. Con una nota biografica del vescovo Serafino Vitale di Dario Cantarella
predynastic and dynastic sovereigns (cf. n. 17).-For the early state reformulation and canonisati... more predynastic and dynastic sovereigns (cf. n. 17).-For the early state reformulation and canonisation of religious ideologies (Bard, in: JAA, 11/1, 1992) and practices, which incorporated previous local beliefs and traditions, cf. Campagno, in: CCdE 2, 2001, 5-26; Kemp, Ancient Egypt, 35ff.-For evidence of a common pan-african cultural substratum in Egyptian ideology and rituals in parallel with those of Nilotic and Cushitic peoples cf.
As early as the Badarian and Naqada I cultures of Middle and Upper Egypt (and the one of Merimde ... more As early as the Badarian and Naqada I cultures of Middle and Upper Egypt (and the one of Merimde in Lower Egypt), stone vessels started to be deposited in certain tombs, constituting one of the most valuable elements of the funerary equipment. They were clearly meant to contain costly substances (as perfumes, unguents, oils, beverages, food) 2 but there are few doubts that they had an outstanding value of their own as ornamental and luxury objects and perhaps also beyond that. The process of extraction, transportation and workmanship 5 of hard stones did require a fair amount of hours of labour which only the wealthiest individuals could repay.
● n°19 janvier 2009 In the early 1980s, Nabil Swelim copied the rock art scene which is the topic... more ● n°19 janvier 2009 In the early 1980s, Nabil Swelim copied the rock art scene which is the topic of the present contribution from a slide photograph (fi g. 1). The image was among the papers of the late Labib Habachi (1906-1984, see Kamil 2007), in his apartment at Manshiyet el Bakry near Heliopolis. Labib Habachi intended to publish the image himself and at some point Hans Goedicke also planned to do so, but, ultimately this was never achieved. After all of these years, it now seems appropriate to publish this important document (fi g. 1 & 2). According to Labib Habachi, this rock art scene is in the Aswan vicinity, but the precise location was not mentioned, nor the date when he took the photograph. Labib Habachi had been posted as inspector at Aswan between 1930 and 1932 (Kamil 2007: 62-66), but only worked intensively at Elephantine from 1946 onwards (Habachi 1985; Kamil 2007). The photo was probably not taken during his fi rst stay at Aswan, when Habachi was not very active, a...
It is well known that Ancient Egyptians regarded the animal world with enormous interest. This co... more It is well known that Ancient Egyptians regarded the animal world with enormous interest. This concern originated in the curiosity, amazement, trust, gratitude, love, protection, respect, confusion and fear that animal features and behaviour might provoke: indeed there was a bulk of aspects in past peoples’ life wherein domestic and wild species did play meaningful roles. It is therefore natural that most of the earliest Egyptian forms of expression we use to define “art” included accurate representations of the fauna which lived at that time in the different environments of the Nile Valley and beyond. In many cases, the scenes reproduced on artefacts (and rock-art) were actually centred on animals, or on any realistic and imaginary form of interaction between animal and human beings. The proper comprehension of the status of theriomorphic implements and iconography (zoomorphic palettes, animal figurines, animal graffiti, carvings, depictions and single signs) has been for long time...
Francesco Raffaele, "Dynasty 0", in: Susanne Bickel and Antonio Loprieno (eds.), Basel Egyptology... more Francesco Raffaele, "Dynasty 0", in: Susanne Bickel and Antonio Loprieno (eds.), Basel Egyptology Prize 1. Aegyptiaca
Helvetica 17. Basel, 2003. P. 99-141.
4 As a preliminary caveat (cf. par. 4.2), it must be pointed out that diachronic and cross-cultur... more 4 As a preliminary caveat (cf. par. 4.2), it must be pointed out that diachronic and cross-cultural comparisons of "single units" (of the religious, iconographic and symbolic inheritance conveyed in the Egyptian art), are susceptible to incur in anachronistic, erroneous conclusions. Contrarily to fundamental notions of broader range (as archetypal models, myths, religious beliefs, philosophies, symbolic metaphors) apt to remain relatively unchanged to the effect of time and of external influences (e.g. Huyge 2002: 194f.; Le Quellec 2005), more particular elements (as styles) are instead largely prone to modifications, rielaborations, additions or even elimination from the artistic milieu -owing to ideological needs, rulers' decisions, new rules of decorum, changing representational canons, foreign cultures borrowings, historical events and other agents. Additionally, and more obviously, it should be remarked that difficulties in modern explanation of past traditions are often the unavoidable result of the gap existing in the logic principles, ideological constructions and cultural conventions rooted in human minds so many millennia apart from each others, as ancient Egyptians' and our own ones are; corruptions may even issue for later Egyptians' misinterpretations of their ancient predecessors' traditions. 5 The terms "decoration, decorative" does not necessarily imply a secondary function (and even less one of mere embellishment): in general, the figurative apparatus might have been either an accessory, additional feature, more or less tightly connected to the main purpose of the artefact (i.e., contributing to accomplish its scope), or the very core and key-element of the object effective meaning and value. For sure, carved, incised and painted figures have, not seldom, attracted more scholarly attention than the other attributes of the items on which they appear! 6 The intracultural patterns of decodification are certainly to be preferred to exogenous approaches ethnographical parallels or diachronic comparisons: cf. note 4): the former ones fully rely on characteristics proper to the studied cultural ambit, eventually accepting the latter ones as an eventual theorical research direction, to be pursued only if corroborated by further positive proofs. For indicative methodological avenues: Midant-Reynes 2003: 310ff. (chaîne opératoire); Wengrow 2006: 176ff. (holistic account).
AA.VV. - Sentiero Italia CAI Vol. 4 (Senerchia-Isernia)), 2022
The chapter provides an updated review of one historical path that is part of the longest italian... more The chapter provides an updated review of one historical path that is part of the longest italian Cammino (the "Sentiero Italia"). This stage flows through quite obscure peaks of the Salerno province (Salerno Mountains, also called Diecimare) that are described in a complementary section.
P. Scaramella - La montagna sul mare , 2021
Scritti e immagini d'ascensione al Faito e alla catena dei Monti Lattari
The First Neapolitan Congress of Egyptology held in Naples, Italy in 2008, constitutes one of the... more The First Neapolitan Congress of Egyptology held in Naples, Italy in 2008, constitutes one of the former international projects promoted by the Neapolitan Association for Egyptological Studies (A.N.S.E.) and was devoted to the diffusion of most recent scientific and research activities carried out by Italian and International Universities and Research Institutes. The contributions span all periods and geographic areas of Ancient Egypt, spreading from the pre-dynastic age to the Coptic era, with a particular focus on new, unpublished data. These include archaeological activities in the royal pre-dynastic cemeteries in Hierakompolis and Abydos; new investigations in the Oasis, the Delta and the Red Sea; updated studies on the chronology, art, architecture and ideology of the Old, Middle and New Kingdom; textual and philological analysis of literary sources like the Pyramid Texts; and the latest researches in some of the most important sites of Sudan. The congress was also the occasion to draw attention to some unknown archaeological and textual material which comes from the Vesuvian Area and is kept in the Archaeological Museum and the National Library in Naples.
RASSEGNA DEL CENTRO DI CULTURA E STORIA AMALFITANA, 63/64, 2022, 2022
2022 Dicembre 2022 Nuova Serie N. S. Anno XXXII (XLII dell'intera serie) RASSEGNA DEL CENTRO DI C... more 2022 Dicembre 2022 Nuova Serie N. S. Anno XXXII (XLII dell'intera serie) RASSEGNA DEL CENTRO DI CULTURA E STORIA AMALFITANA In questo numero: Saggi La dinastia dei Fusilis (898-957) di Giuseppe Gargano Origini, sviluppo e abbandono di alcuni siti fortifi cati campani fra X e XV secolo. Un bilancio sulle forme di incastellamento e decastellamento di Alfredo Maria Santoro Catasto provvisorio di Positano (1815) e considerazioni sull'evoluzione storica del comune fi no alla conclusione del decennio napoleonico di Antonio Capano I Savoia fra Ravello e Raito, collage bibliografi co di Antonio Porpora Anastasio Beni Culturali La trasformazione monumentale della cattedrale di Santa Trofimena in Minori: documenti inediti sul Settecento. Con una nota biografica del vescovo Serafino Vitale di Dario Cantarella
predynastic and dynastic sovereigns (cf. n. 17).-For the early state reformulation and canonisati... more predynastic and dynastic sovereigns (cf. n. 17).-For the early state reformulation and canonisation of religious ideologies (Bard, in: JAA, 11/1, 1992) and practices, which incorporated previous local beliefs and traditions, cf. Campagno, in: CCdE 2, 2001, 5-26; Kemp, Ancient Egypt, 35ff.-For evidence of a common pan-african cultural substratum in Egyptian ideology and rituals in parallel with those of Nilotic and Cushitic peoples cf.
As early as the Badarian and Naqada I cultures of Middle and Upper Egypt (and the one of Merimde ... more As early as the Badarian and Naqada I cultures of Middle and Upper Egypt (and the one of Merimde in Lower Egypt), stone vessels started to be deposited in certain tombs, constituting one of the most valuable elements of the funerary equipment. They were clearly meant to contain costly substances (as perfumes, unguents, oils, beverages, food) 2 but there are few doubts that they had an outstanding value of their own as ornamental and luxury objects and perhaps also beyond that. The process of extraction, transportation and workmanship 5 of hard stones did require a fair amount of hours of labour which only the wealthiest individuals could repay.
● n°19 janvier 2009 In the early 1980s, Nabil Swelim copied the rock art scene which is the topic... more ● n°19 janvier 2009 In the early 1980s, Nabil Swelim copied the rock art scene which is the topic of the present contribution from a slide photograph (fi g. 1). The image was among the papers of the late Labib Habachi (1906-1984, see Kamil 2007), in his apartment at Manshiyet el Bakry near Heliopolis. Labib Habachi intended to publish the image himself and at some point Hans Goedicke also planned to do so, but, ultimately this was never achieved. After all of these years, it now seems appropriate to publish this important document (fi g. 1 & 2). According to Labib Habachi, this rock art scene is in the Aswan vicinity, but the precise location was not mentioned, nor the date when he took the photograph. Labib Habachi had been posted as inspector at Aswan between 1930 and 1932 (Kamil 2007: 62-66), but only worked intensively at Elephantine from 1946 onwards (Habachi 1985; Kamil 2007). The photo was probably not taken during his fi rst stay at Aswan, when Habachi was not very active, a...
It is well known that Ancient Egyptians regarded the animal world with enormous interest. This co... more It is well known that Ancient Egyptians regarded the animal world with enormous interest. This concern originated in the curiosity, amazement, trust, gratitude, love, protection, respect, confusion and fear that animal features and behaviour might provoke: indeed there was a bulk of aspects in past peoples’ life wherein domestic and wild species did play meaningful roles. It is therefore natural that most of the earliest Egyptian forms of expression we use to define “art” included accurate representations of the fauna which lived at that time in the different environments of the Nile Valley and beyond. In many cases, the scenes reproduced on artefacts (and rock-art) were actually centred on animals, or on any realistic and imaginary form of interaction between animal and human beings. The proper comprehension of the status of theriomorphic implements and iconography (zoomorphic palettes, animal figurines, animal graffiti, carvings, depictions and single signs) has been for long time...
Francesco Raffaele, "Dynasty 0", in: Susanne Bickel and Antonio Loprieno (eds.), Basel Egyptology... more Francesco Raffaele, "Dynasty 0", in: Susanne Bickel and Antonio Loprieno (eds.), Basel Egyptology Prize 1. Aegyptiaca
Helvetica 17. Basel, 2003. P. 99-141.
4 As a preliminary caveat (cf. par. 4.2), it must be pointed out that diachronic and cross-cultur... more 4 As a preliminary caveat (cf. par. 4.2), it must be pointed out that diachronic and cross-cultural comparisons of "single units" (of the religious, iconographic and symbolic inheritance conveyed in the Egyptian art), are susceptible to incur in anachronistic, erroneous conclusions. Contrarily to fundamental notions of broader range (as archetypal models, myths, religious beliefs, philosophies, symbolic metaphors) apt to remain relatively unchanged to the effect of time and of external influences (e.g. Huyge 2002: 194f.; Le Quellec 2005), more particular elements (as styles) are instead largely prone to modifications, rielaborations, additions or even elimination from the artistic milieu -owing to ideological needs, rulers' decisions, new rules of decorum, changing representational canons, foreign cultures borrowings, historical events and other agents. Additionally, and more obviously, it should be remarked that difficulties in modern explanation of past traditions are often the unavoidable result of the gap existing in the logic principles, ideological constructions and cultural conventions rooted in human minds so many millennia apart from each others, as ancient Egyptians' and our own ones are; corruptions may even issue for later Egyptians' misinterpretations of their ancient predecessors' traditions. 5 The terms "decoration, decorative" does not necessarily imply a secondary function (and even less one of mere embellishment): in general, the figurative apparatus might have been either an accessory, additional feature, more or less tightly connected to the main purpose of the artefact (i.e., contributing to accomplish its scope), or the very core and key-element of the object effective meaning and value. For sure, carved, incised and painted figures have, not seldom, attracted more scholarly attention than the other attributes of the items on which they appear! 6 The intracultural patterns of decodification are certainly to be preferred to exogenous approaches ethnographical parallels or diachronic comparisons: cf. note 4): the former ones fully rely on characteristics proper to the studied cultural ambit, eventually accepting the latter ones as an eventual theorical research direction, to be pursued only if corroborated by further positive proofs. For indicative methodological avenues: Midant-Reynes 2003: 310ff. (chaîne opératoire); Wengrow 2006: 176ff. (holistic account).